Shadowy Presences: Mobility, Labor and Absence in the Work of Dominican Photographer Fausto Ortiz

Full Te ms & Condi ions o access and use can be ound a h p://www. and online.com/ac ion/jou nalIn o ma ion?jou nalCode= pc20 Download by: [b-on: Biblio eca do conhecimen o online UL] Da e: 10 Ma ch 2017, A : 08:44 Pho og aphy and Cul u e ISSN: 1751-4517 (P in ) 1751-4525 (Online) Jou nal homepage: h p://www. and online.com/loi/ pc20 Shadowy P esences: Mobili y, Labo and Absence in he Wo k o Dominican Pho og aphe Faus o O iz Ca los Ga ido Cas ellano To ci e his a icle: Ca los Ga ido Cas ellano (2017): Shadowy P esences: Mobili y, Labo and Absence in he Wo k o Dominican Pho og aphe Faus o O iz, Pho og aphy and Cul u e To link o his a icle: h p://dx.doi.o g/10.1080/17514517.2017.1295708 Published online: 10 Ma 2017. Submi you a icle o his jou nal View ela ed a icles View C ossma k da a Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 1–16 Shadowy P esences: Mobili y, Labo and Absence in he Wo k o Dominican Pho og aphe Faus o O iz Ca los Ga ido Cas ellano Abs ac This a icle aims o examine he ways in which con empo a y a om he Ca ibbean, and speci ically om he Dominican Republic, is analyzing mobili y and human a icking wi hin a ansna ional con- ex . In his case I will c i ique he wo k o he pho og aphe Faus o O iz (San iago de los Caballe os, 1970), who has e lec ed ecen ly on he consequences o mig a ion and displacemen o Dominican cul u al poli ics. Ra he han add essing he ep esen a ion o ma gin- alized sec o s and ma ginal o ms o economy in he pa icula case o he Dominican Republic, I a gue ha O iz’s pho og aphic p ac ice deepens and b oadens he deba es abou ace, ci izenship and social inequali y, o cing his audience o conside hose issues as a cen al pa o he e e yday. While add essing hose issues, his a icle ies o inse O iz’s pho og aphic p ac ice wi hin in e na ional deba es on mobili y, bo de p ac ices and displacemen . Keywo ds:Ca ibbean, islands, mig a ion, pho og aphy, ansna ionalism Mig a ion and mobili y ha e been a cen al conce n in ecen Ca ibbean isual p ac ices. The ep esen a ion o sla e y and o he Middle Passage a e commonly con on ed and linked o con empo a y p ocesses o olun a y and o ced displacemen . This ocus has been key in placing Ca ibbean isuali y wi hin a ansna ional con ex , anscending he iden- i ica ion be ween egional imagina ies and opical, insula landscapes. A big e o has been made o challenge he isual commodi iza ion o Ca ibbean eali y. A simila in e es has pu sued o inse Ca ibbean isual p ac ices wi hin a global a ena (see Wainw igh 2011; Kempadoo 2013; S ephens 2013; Mohammed 2011). In c i ical heo y, au ho s such as Juan Flo es (2010), Jo ge Duany (2011), Sil io To es Saillan (1999) o Yolanda Ma ínez San Miguel (2003) ha e a emp ed o disman le he na ion–diaspo a di ide, poin ing ou he cen ali y o he “cul u es o mig a ion” (Ma ínez San Miguel 2003) o any unde s anding o he Pho og aphy & Cul u e Volume XX—Issue X Ma ch 2017 pp. 1–16 DOI: 10.1080/17514517.2017.1295708 Rep in s a ailable di ec ly om he publishe s Pho ocopying pe mi ed by license only © 2017 In o ma UK Limi ed, ading as Taylo & F ancis G oup 2 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 2–16 Ca ibbean cul u al image y. Fo hose au ho s, mobili y appea s as a c ucial elemen no only o hose indi iduals o g oups ha a e subjec ed o displacemen , bu also o he con igu a ion o social imagina ies ac oss he egion. Engaging wi h hose deba es, his pape aims o explo e how mobili y and labo a e po ayed in Ca ibbean isual p ac ices. In o de o do ha , I examine wo se ies o he Dominican pho og aphe Faus o O iz (San iago de los Caballe os, 1970). O iz has de eloped a consis en a is ic ca ee since he 1990s, gaining in e na ional ecogni ion a he end o he 2000s, when his wo k was showcased in majo a exhibi ions wi hin and ou side he egion, such as In ini e Island (New Yo k, B ooklyn Museum, 2007). A ound ha da e, when his wo k became in e na ionally known, O iz consolida ed a p eoccupa ion o add essing he con adic ions o mobili y and mig a ion wi hin he con ex o he Dominican Republic. This conce n is bes exp essed in Ciudad de somb as (Ci y o Shadows) and Remainde s, wo pho og aphic se ies p oduced in he la e 2000s. Bo h a e specially bounded o ma ginal and con lic i e modes o displacemen . They depic si ua ions o p eca iousness and ins abili y, o cing he spec a o o challenge he expec a ions owa ds Ca ibbean bodies and landscapes, and disman ling he economic and acial discou ses behind Dominican na ionalism.1 In his a icle, I a emp o place O iz’s pho og aphic p ac ice wi hin he con ex o Ca ibbean cul u es o mig a ion. By looking a Ciudad de somb as and Remainde s, I a gue ha , al hough dealing wi h speci ic local p edicamen s, he conce ns wi h labo , mig a ion and a icking bodies p esen in bo h se ies canno be isola ed as a na ional phenomenon. My in e es he e is o show ha O iz’s explo a ion o he Dominican landscape o (im)mobili y opens new ways o unde s anding he p edicamen o Ca ibbean displacemen s as a global phenomenon. Issues o di e ence and p oximi y/dis ancing ha e egula ed in many cases he cul u al deba es a ound he links be ween Hai i and he Dominican Republic. The app oxima ions o ha p edicamen de eloped by Dominican a is s sha e hose issues (see Casa de Amé ica 2002; De los San os 2003; Gineb a 2009; Mille 2012). Wi hou dismissing such app oaches, in his case I would like o sugges ha a majo pa o O iz’s wo k alludes o a liminal space ela ed o he cul u al and poli ical ela ions in La Española, a space delimi ing no ions o poli ical economy and habi abili y in he Ca ibbean a la ge. In ha con ex , he ques ion on coexis ence is s ongly linked o he isibili y o in isibili y o communi ies, as well as o go e nabili y, o cing he spec a o o ques ion human displacemen in ela ion o he widesp ead o Ca ibbean isual p ac ices wi hin a ansna ional con ex . “We emain labelled bu nameless images,” sugges Ch is ophe Cozie and Flo es (2012), 9) in dealing wi h Ca ibbean con empo a y a is ic p ac ices. In his a icle I a emp o show how his conce n is p esen in O iz’s pho og aphic image y. He ein I examine how O iz challenges he image o he Ca ibbean as a pa adisiac, exo ic loca ion by depic ing bodies and his o ies ha a e o en excluded om he Dominican na ional imagina y. The shadows and inanima e bodies ha cen e he image composing bo h se ies cons i u e, I will sugges , a oubling p esence haun ing Ca ibbean landscapes o mig an labo and mobili y. Ra he han desc ibing o na a ing pe iphe al p esences, O iz’s pho og aphic p ac ice is p oposing an al e na i e iew o Dominican ci izenship, one implying an ac i e esponse and no jus a documen a y ges u e. The main a gumen o his pape , he e o e, is ha O iz’s wo k anscends he di ec ep esen a ion o ma ginal luxes, d awing a link be ween he ma ginaliza ion o subjec s and bodies, he con igu a ion o he Dominican na ion, and he impac o neolibe al capi alism ac oss he Ca ibbean egion. The se ies Ciudad de somb as (2007) depic s he u ban land- scape o San iago de los Caballe os h ough he lack o isibili y o pa o i s inhabi an s.2 A g oup o shadows in mo emen a e ou lined o e he walls, indica ing a eali y ha canno be pe cei ed Ca los Ga ido Cas ellano Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz 3 Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 3–16 by he spec a o (see igu es 1–5). Becoming shadows, e an igu es whose posi ion and iden i y can be only guessed om hei e lec ion, hose igu es ende a ision o a communi y ma ked by i s es angemen , by i s inexp essi eness. Those silhoue es cons i u e, howe e , an insepa able laye wi hin he his o ical ma e iali y o he walls, one ha imp in s i s p esence o he u ban ex u e and embodies he con adic ions o mis ep esen a- ion. Ciudad de somb as po ays he image y o down own San iago de los Caballe os, he second majo ci y in he Dominican Republic. By look- ing a hose he images, howe e , we could no know in wha pa o he ci y he pic u es ha e been aken, no he iden i y o he pho og aphed pe sons. The only ecognizable elemen s o he scenes come om he emnan s o some messages ixed o he wall add essing poli ical issues and key igu es o Dominican poli ical p ocess, bu hese also seem o ade. The image i les a e equally ambiguous, and a e used o sugges pa icula in e p e a ions – Labe in o (Laby in h), Somb as Pasaje as (Tempo a y Shadows), Ap oximaciones (App oxima ions) – o he ela ion among he cha ac e s – P ocesión (P ocession), Pa ne s. Al hough hey modi y he u ban space whe e hey a e inse ed, he shadows a ely occupy he whole wall, being elega ed o he inne pa Figu e 1. Faus o O iz, “Ap oximaciones,” Ciudad de Somb as se ies, 2007. Digi al pho og aphy. Cou esy o he a is . Figu e 2. Faus o O iz, “Ciudad de Somb as,” Ciudad de Somb as se ies. 2007. Digi al pho og aphy. Cou esy o he a is . 4 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 4–16 speci ic e e ences o s ee u ni u e such as lamppos s, a ic signs o pa king me e s. In hose cases, he objec ’s shadow appea s bigge han he human o m, c ea ing a e ical coun e pa o he inclining, diagonal shape o he walke s’ silhoue es. This does no elimina e he sense o nakedness, o simplici y o he pho og aphed spaces. In a e cases, mo eo e , a sense o na a ion is pu sued. O iz shows mos ly isola ed igu es. In he g oup po ai s, he subjec s a e o en walking in di e gen di ec ions o clea ly sepa a ed one om o he s. Some excep ions can be ound in pho og aphs like F agmen os de paz (Peace F agmen s), whe e people a e p esen ed in mo e elaxing, engaging a i udes, such as playing music, o in Labe in o, whe e we can iden i y a amily walking oge he , he a he guiding he s eps o he child en. The o he se ies o O iz dealing wi h p eca ious p ocesses o mobili y ook he name o Remainde s. Loca ed in a opical coas al landscape, he images show pa s o mannequin bodies deposi ed by he sea as e idence o a shipw eck. While in some cases we wi ness he inexp essi e aces oscilla ing wi h he ide, in o he occasions he dispe sed membe s lie unde he sand, bu ied. In all he pic u es, howe e , a eeling o abandon and decay appea s, sugges ing he idea o dispensable li es. The sense o agedy is ein o ced by he calm na u e o he landscape, unal e ed by he acciden , and also by he pe ec ness o he o he image. This displacemen is ein o ced by he subjec s’ mo emen , cap u ed while walking. Whe eas he human igu e holds he p ominence o he scene, some pho og aphs also include Figu e 3. Faus o O iz, “Peace Piece,” Ciudad de Somb as se ies. 2007. Digi al pho og aphy. Cou esy o he a is . Figu e 4. Faus o O iz, “Labe in o 2,” Ciudad de Som- b as se ies. 2007. Digi al pho og aphy. Cou esy o he a is . Ca los Ga ido Cas ellano Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz 5 Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 5–16 eminine condi ion o he mannequins could pose issues o sexual labo and o ced mig a ion. The su oundings o he shipw eck poin o he illegal mig a ion o Dominicans o Pue o Rico in yolas (small handc a ed essels used o his kind o ansi ) h ough he Mona Canal. The open cha ac e o he se ies can be seen, hen, as a disposi i e used by he a is in o de o make Dominican bo de eali y p oblema ic wi hou speci ying o p i ileging any pa icula in e p e a ion. As none o hose isions p e ail o e he es , he iewe s a e o ced o guess he possible meaning o he images (see Figu e 6). When asked o he meaning o Remainde s, O iz answe s c yp ically: “The deb is o he sea is wha he sea expels; in his case, I wan ed o sugges he idea o was e, mu ila ion, expulsion.”3 Simila ly, Ciudad de somb as is also loca ed wi hin a b oade geog aphy in O iz’s in e p e a ion: I belie e ha he bes way o ep esen ing he pe son who en e s and lea es b ie ly he ci y wi hou lea ing any ace is h ough he shad- ow. The shadow is p ojec ed on o he ci y, in he walls, and hose walls a e buil by many o hose pe sons, hey a e no used solely o shel e hem … I mean, I am alking in his case also abou he Dominicans li ing in New Yo k, in Spain, o say some hing. Many people unde s ood my use o shadows as linking he images o skin colo , bu i does no necessa i- ly ha e o do wi h his.4 bodies and agmen s, which appea wi hou a ma k. We canno ind a clea connec ion be ween he di e en cha ac e s popula ing he scene: while some a e abou o disappea , o he s seem o enjoy he day. Al hough we a e in a sho e, wa e is ou lined in se e al cases, c ea ing a ho izon ein o ced by he ho izon al alignmen o he bodies. The use o limbs and o sos complemen s he idea unde lined by he i le o showing emainde s o a wide o ali y ecen ly disappea ed. I also emphasizes he con as be ween he pe ec ion o he bodies and hei ou cas cha ac e , p esen ing he scene as a consequence o auma ic expe iences. Mannequins, in ha sense, appea as an in eg al pa o he economies o mo emen and consume ism ha lead o, acco ding o Shelle , “ o ms o symbolic iolence and cul u al app op ia ion” (Shelle 2003, 4). Inse ed in a agic insula opical landscape, hey become pa o wha Ann Lau a S ole (2013) has called “impe ial deb is,” coun e ing bo h he idyllic image associa ed o he Ca ibbean and he ole o ou is ic shel e ed isola ion a ached o opical insula ism. Wha he shipw eck is elling us, in o he wo ds, is ha any p ocess o mobili y is indissolubly linked o global ci cula ion o money and p oduc s. Tha ci cula ion, as Shelle poin s ou (2004, 15), no only ole a es bu also inc eases ansna ional p ocesses o inequali y. As in Ciudad de somb as, se e al in e p e a ions a e possible he e: a di ec eading o he Figu e 5. Faus o O iz, “Somb as pasaje as 2,” Ciudad de Somb as se ies. 2007. Digi al pho og aphy. Cou esy o he a is . 6 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 6–16 San Ma ínez San Miguel 1998, 2001; Ma ínez- Ve gné 2005; I zigsohn 2001). Eas and Wes a e mo e han wo ca dinal poin s in he Dominican spa ial imagina y. The Wes is undoub edly ep- esen ed by Hai i, an e e -p esen and unmen- ionable eali y in he coun y. Sa a He mann has ecen ly alluded o how his ab up ex i pa ion and uncanniness o one o he ca dinal poin s is “one o he mos iolen ac s ha can exis .” (He mann 2012, 86). Hai i and he Dominican Republic a e no jus sepa a ed by a bo de , bu also by a long his o y o con lic s and poli ical di e ence: he Dominican Republic gained independence om Hai i, which con olled he o ali y o he island om 1822 un il 18445. The independence o he coun y was linked o he e en s ha ollowed he Hai ian Re olu ion, when he island became di ided in wo, one pa con olled by he F ench un il 1809 and ano he by he na ion ha had jus gained independence. Gi en he passi i y o bo h As we will see, he opaci y and ambi alen one o bo h se ies does no imply lack o a en ion o he con ex ; on he con a y, i de ines a way o linking and spacing ma ginalized and mis ep esen ed his o ies, poin ing ou he complexi y ha cha ac e izes con empo a y expe iences o mobili y. Eas and Wes : e aming he Dominican gaze O iz’s pho og aphs a e conce ned wi h he o e lapping o he e ogeneous his o ies and con lic s, which a e b aided h ough se e al ele- men s, among hem mobili y, (in) isibili y o ace and acism. In his sec ion I will ocus on he las wo e ms, a emp ing o connec hem o he Dominican Republic geopoli ical imagina ion. Bo h se ies, as we will see, po ay he cen al oles ha mig a ion and mobili y play in he con igu a ion o Dominican na ionalism (see, o example, Ma ínez Figu e 6. Faus o O iz, “Numbe Ele en,” Ciudad de Somb as se ies. 2007. Digi al pho og aphy. Cou esy o he a is . Ca los Ga ido Cas ellano Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz 7 Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 7–16 San o Domingo. Finally, Da id Pé ez’s “Ka mada is” wo k o he La in Ame ican Pa ilion o he 2013 Venice Biennale ook he o m o a collabo a i e pe o mance be ween a Hai ian and a Dominican disabled ci izen (see Fumagalli 2013, 2015). Those a e jus some ecen examples o a opic exploi ed ime and ime again in Dominican isual p ac ices9. The Eas also holds an almos my hical appeal in he Dominican geog aphical imagina ion. In his case, i is commonly associa ed wi h illegal mig a ion o Pue o Rico h ough he Mona Canal. This jou ney means he en ance in US e i o y, bu also cons i u es a dange ous passage ha has cos many li es. The d ama o he yolas is usually ela ed o ques ions o p i ilege, accep ance and success: he mig an who eaches Pue o Rico en e s he “p omised land,” al hough mig a ion is, in many cases, also associa ed wi h p eca iousness and unwan ed jobs. Fu he mo e, o many Dominicans he p ocess o dealing wi h he Ame ican acial di ide also implies a ede ini ion Spain and he in e na ional powe s owa d he independence o he Spanish side o he island, he Hai ian go e nmen o Boye occupied in 1822 he o he pa , ein oducing he aboli ion o sla e y and imposing he F ench ci il code. One cen u y a e , he dic a o ship o Ra ael Leónidas T ujillo ins i u ed an i-Hai ian policy which lead o he expulsion o many Hai ian ci izens and o se e al massac es6. The legacy o his his o ical conun- d um has emained a cen al issue in he ela ions be ween bo h coun ies un il he p esen momen , when he si ua ion is agg a a ed by he massi e depo a ions o Hai ian and Hai ian-o igin ci izens7. Con empo a y Dominican a has deal ex ensi ely wi h Hai i and “ he Hai ian issue,” bo h in cle e , sub le and mo e s aigh o wa d ways. Pe o mance a is Sayu i Guzmán, o example, has b aided he hai o Dominican and Hai ian women oge he , bounding hem8. Mo e adically, Ca yana Cas illo wo e a lag mixing bo h coun ies’, wea ing i while walking a ound he his o ic Ciudad Colonial o Figu e 7. Faus o O iz, “Náu agos,” Remainde s Se ies. Digi al pho og aphy. Cou esy o he a is . 8 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 8–16 O iz’s pho og aphs show ha he cons uc ion o Dominican iden i y and i s na ional and acial O he (s) canno be con on ed sepa a ely. The se ies o ce he (Dominican) spec a o o e hink he /his posi ion as necessa ily ouched by he e ogeneous and in e connec ed expe iences o ma ginaliza ion. P ecisely his ambi alence oubles he connec ion be ween he pho og aphed space, he add essed p edicamen and he a is ic in e p e a ion, o he lack o p esence o hei p o agonis s (shadows in he i s case, li eless mannequins in he second) seems o ein o ce he un ui ulness o any iden i ica ion wi h “ eal” e e en s. Au hen ici y is excluded in O iz’s po ai s, and ha ein o ces he conce n o iden i ica ion ha shadows exp ess. In he case o Ciudad de somb as, he i s e e ence ha comes o mind is ha o he landscape o labo in La Española Island and he inc easing p ocesses o miscegena ion ep esen ed o hei bodies and acial iden i ies. As i happens wi h he Wes , he Eas has also been a amilia ocus o Dominican a is s. Fo ins ance, in 2003 he Shampoo Collec i e c ea ed D′La Mona Plaza, a p ojec ha shocked a is ic audiences in i s ime and ha eached a huge public no amilia wi h con empo a y a . The p ojec ad e ised in he Dominican media he cons uc ion o a big shopping mall in he Mona Canal, which would p o ide help o shipw eck su i o s and mig an s in yolas. The mos in e es ing pa came when he media did no acknowledge he p ank and s a ed discussing he iabili y o such shopping mall. Eas and Wes a e behind he gaze cons uc ed in Ciudad de somb as and Remainde s. Howe e , I belie e ha i is di icul o iden i y each se ies wi h a ca dinal poin . On he con a y, an al e na i e iew o he Dominican imagina y, one in which bo h ca dinal poin s a e con used and con on ed oge he , eme ges in bo h se ies. Figu e 8. Faus o O iz, “Ho izon es de paz,” Remainde s Se ies. Digi al pho og aphy. Cou esy o he a is . Ca los Ga ido Cas ellano Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz 15 Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 15–16 Nica agua.” Chap. 3. In Pho og aphy and W i ing in La in Ame ica: Double Exposu e, edi ed by Ma cy E. Schwa z and Ma y Be h Tie ney-Tello, 59-87. Albuque que, NM: Uni e si y o New Mexico P ess. B ennan, D. 2004. Wha ’s Lo e Go o Do wi h I ? Du ham: Duke Uni e si y P ess. Bu man, J. 2002. “Remi ance; O , Diaspo ic Economies o Yea ning.” Small Axe 6 (2): 49–71. de Amé ica, Casa, ed. 2002. A e con empo áneo domini- cano [Con empo a y Dominican A ]. Mad id: Casa de Amé ica. Cozie , C., and T. Flo es. 2012. W es ling wi h he Image. Ca ibbean In e en ions. Washing on D.C: Wo ld Bank. De Ce eau, M. 1980. L′in en ion du quo idien. A s de ai e. Pa is: Union Géné ale d′Edi ions. De los San os, D. 2003. Memo ia de la pin u a domini- cana [Memo y o Dominican Pain ing]. San iago de los Caballe os: G upo León Jimenes. Duany, J. 2011. Blu ed Bo de s. Chapel Hill: The Uni e si y o No h Ca olina P ess. Enwezo , O. 2006. The Unhomely: Phan om Scenes in Global Socie y: 2nd In e na ional Biennial o Con empo a y A o Se ille. Se ille: Fundación Bienal In e nacional de A e Con empo áneo de Se illa. Flo es, J. 2010. The Diaspo a S ikes Back. Ca ibeño Tales o Lea ning and Tu ning. New Yo k: Rou ledge. Fumagalli, M. C. 2013. “‘Isla Abie a’ o ‘Isla Ce ada’?: Ka mada is’s P e- and Pos -Ea hquake Hispaniola.” Bulle in o La in Ame ican Resea ch 32 (4): 421–437. Fumagalli, M. C. 2015. On he Edge: W i ing he Bo de be ween Hai i and Dominican Republic. Li e pool: Li e pool Uni e si y P ess. Fusco, C. 1996. “Hus ling o Dolla s.” MS Magazine, Sep embe -Oc obe : 62-70. Ga ido Cas ellano, C. 2010. “Rompiendo el mapa. Cua o isiones sob e la on e a en el a e ac ual dominicano” In e cambio. Re is a sob e Cen oamé ica y el Ca ibe, 7/8: 37–53. Ga ido Cas ellano, C. 2011. A e en diálogo. Con e saciones sob e p ác ica a ís ica con empo ánea, iden idad e in eg ación cul u al en República Dominicana. San o Domingo: Cen o Cul u al de España. Ga ido Cas ellano, C. 2015. “On Wan ing Images and Sha ed Responsibili ies. Belkis Ramí ez´s “De la misma many o he mos ele an Dominican cul u al ins i u- ions, among hem, hose ga he ed in he Plaza de la Cul u a Juan Pablo Dua e in San o Domingo, we e also es ablished in he 1970s. 12. “Pe o cie amen e esas silue as pa a mí signi icaban mucho en aquel momen o, aunque aho a inie on a ep esen a el anonima o. El anonima o de la ciudad. Po eso e hablaba aho a de la ciudad o mal y la ciu- dad in o mal; en oda ciudad ac ual apa ecen aquellos g upos que no cuen an; que es án, pe o que no apa ecen en ninguna pa e. Los ausen es. Los que no ienen un núme o, un ID, un código, o simplemen e los que pe manecen en las somb as de la ciudad, y solamen e son eque idos y u ilizados cuando se necesi a la ue za labo al; eso pasa en odas pa es del mundo. Muchos países ienen la misma si uación.” My ansla ion. (Ga ido Cas ellano 2011). 13. The emains o he shipw eck can be app oached, hus, as ecogni ion and c i ical eading o he con- adic ions o he “idyllic landscape” o in e acial, in e cul u al lo e ha equen ly conceal sex ou ism, a phenomenon ha ha e c ea ed a pa allel economy in which low-income women can ind a quick way o social p omo ion, no exemp , howe e , om a high isk o ma ginaliza ion and impo e ishmen ha he weigh o emi ances canno a enua e. 14. P os i u ion and mig a ion can also be ound in he o igin o “ emi ance se lemen s” occupied by men whose women a e wo king in Eu ope as sex wo ke s. Fo a e iew on he ela ions be ween emi ance and a chi ec u e see Lynn Lopez (2010). Remi ances, howe e , widely exceeds his phenom- enon and mus no be solely connec ed wi h p os- i u ion; a he , i implies a b oad ange o si ua ions, ges u es and s o ies (Bu man 2002). Ca los Ga ido Cas ellano holds a FCT pos -doc o al ellowship a he Cen o de Es udos Compa a is as and he Ins i u o de His ó ia de A e a he Uni e si y o Lisbon. His esea ch in e es s ocus on isual cul u e, c i ical heo y and collabo a i e a is ic p ac ices. He au ho ed wo books on con empo a y Ca ibbean a . Cu en ly he coo dina es he esea ch p ojec “Com- pa ing Wes. Collec i ism, Emancipa ion, Pos coloniali y”. Re e ences B ecken idge, J. 2006. “Na a i e Imag(in)ing: Susan Meiselas Documen s he Sandinis a Re olu ion in 16 Shadowy p esences: mobili y, labo and absence in he wo k o Dominican pho og aphe Faus o O iz Ca los Ga ido Cas ellano Pho og aphy & Cul u e Volume XX Issue X Ma ch 2017, pp. 16–16 Two Ways. Cul u e o Mig a ion in he Hispanic Insula Ca ibbean]. San Juan, Pue o Rico: Ediciones Callejón. Ma ínez San Miguel, Y. 1998. “De ilegales e indocumen ados: ep esen aciones cul u ales de la mig ación dominicana en Pue o Rico.” [On Illegal and Undocumen ed: Cul u al Rep esen a ions o Dominican Mig a ion in Pue o Rico.]” Re is a de Ciencias Sociales 4: 147–173. Mille , J. 2012. 1844-2000. A e dominicano. Escul u a, ins alaciones, medios no adicionales y a e i al [1844-2000. Dominican A . Sculp u e, Ins alla ions, Non-Con en ional Media and S ained Glass A ]. San o Domingo: Code el. Mohammed, P. 2011. Imaging he Ca ibbean: Cul u e and Visual T ansla ion. New Yo k: Palg a e Macmillan. Pu i, S. 2004. The Ca ibbean Pos colonial. New Yo k: Palg a e Macmillan. Sa gás, E. 2002. Race and Poli ics in he Dominican Republic. Miami, FL: Uni e si y P ess o Flo ida. Shelle , M. 2003. Consuming he Ca ibbean. F om A awaks o Zombies. London and New Yo k: Rou ledge. Shelle , M. 2004. “Demobilizing and Remobilizing Ca ibbean Pa adise.” In Tou ism Mobili ies: Places o Play, Places in Play, edi ed by M. Shelle and J. I y, 13–22. London and New Yo k: Rou ledge. S ephens, M. 2013. “Wha Is an Island? Ca ibbean S udies and he Con empo a y Visual A is .” Small Axe 17: 8–26. S ole , A. L., ed. 2013. Impe ial Deb is. On Ruins and Ruina ion. Du ham: Duke Uni e si y P ess. To es Saillan , S. 1999. El e o no de las yolas: ensayos sob e diáspo a, democ acia y dominicanidad [The Re u n o he Yolas: Essays on Diaspo a, Democ acy and Dominicanness]. San o Domingo: Mana í. Wainw igh , Leon. 2011. Timed Ou . A and he T ansna ional Ca ibbean. Manches e , NH: Manches e Uni e si y P ess. made a”” Mi adas. Elek onische Zei sch i ü Ibe ische und Ibe o-ame ikanische Kuns geschich e 2: 23–31. Gineb a, F., ed. 2009. A e dominicano jo en: má - genes, géne o, in e acciones y nue os e i o ios [Recen Dominican A : Ma gins, Gende , In e ac ions and New Te i o ies]. San o Domingo: Casa de Tea o. Guillén, E. 2004. Nau agios: imágenes omán icas de la desespe ación [Shipw ecks: Roman ic Images o Despai ]. Mad id: Si uela. Hanne z, U. 1996. T ansna ional Connec ions: Cul u e, People, Places. London and New Yo k: Rou ledge. He mann, S. 2012. “Unconscious Cu a ing.” Chap. 6. In Cu a ing in he Ca ibbean, edi ed by Da id Bailey, Alissand a Cummins, Alex Lapp and Allison Thompson, 85-97. Be lin: The G een Box. Howa d, D. 2001. Colo ing he Na ion: Race and E hnici y in he Dominican Republic. Ox o d: Lynne Rienne Publishe s. I zigsohn, J. 2001. “Li ing T ansna ional Li es”, Diaspo a: A Jou nal o T ansna ional S udies 10 (2): 281-296. Kempadoo, K. 2004. Sexing he Ca ibbean. London and New Yo k: Rou ledge. Kempadoo, R. 2013. “Gazing Ou wa d and Looking Back: Con igu ing Ca ibbean Visual Cul u e.” Small Axe 17: 136–153. Lynn Lopez, S. 2010. “The Remi ance House: A chi ec u e o Mig a ion in Ru al Mexico.” Buildings & Landscapes: Jou nal o he Ve nacula A chi ec u e Fo um 17 (2): 33–52. Ma ínez-Ve gné, T. 2005. Na ion & Ci izen in he Dominican Republic, 1880–1916. Du ham: Uni e si y o No h Ca olina P ess. Ma ínez San Miguel, Y. 2001. “A Ca ibbean Con ede a ion? Cul u al Rep esen a ions o Cuban and Dominican Mig a ions o Pue o Rico.” Jou nal o Ca ibbean Li e a u es 3 (1): 93–110. Ma ínez San Miguel, Y. 2003. Ca ibe Two Ways. Cul u a de la mig ación en el Ca ibe insula hispánico [Ca ibe